Quotes About Perspective

Visual elements are, of course, the director's job.

I know some children's writers write for specific children, or for the children they once were, but I never have. I just thought children might like my sort of visual humour.

I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.

I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.

There are probably writers who are much more visual than I am and some who are less. I like to think of myself as a happy medium.

It is difficult, but intriguing, to imagine seeing the world as a fly might. First, flies don't have nearly the same visual resolution that we do... so you have to imagine a fuzzier image. Second, fly eyes are faster than our own and are very sensitive to motion.

Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

I really believe that the movie will never be as good as the book, both because the book goes on longer - a movie is basically an abridgment of a book - and because books are internal. But they are incredibly powerful. The visual format is, you know, amazing.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

I am not a visual innovator.

Hearing about a visual artist's approach can change the way you think about songwriting.

It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.

I have always had a predominantly visual approach to my environment.

You are either visual or you're not.

I wanted to create a culture that allowed my children to see the world differently, if only from a strictly visual perspective: to have a child see a room where half of the people are women and minorities is so powerful. I think everyone wants for their children a world that's better than the one they came up in.

We frame things in an off-kilter way because it's unsettling. In the 'Mr. Robot' world, that's the norm, and it's the norm for the point of view that we're looking for, which is Elliot's. With our compositions and our visual language and camera movements, it's important to always evoke that unsettling feeling underneath every scene.

As a director, I start with the visual.

I started as a visual artist and I've always dealt with music in that same sort of way.

When I was in the first years of university, I fell in more with the visual arts crowd because it was more interesting than where music was.

I don't paint. I am a hobbyist photographer, so I relate to the visual arts that way, but I'm not a painter.

I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.

Because storytelling, and visual storytelling, was put in the hands of everybody, and we have all now become storytellers.